herein2020

I really don't focus on bitrates that much because to me higher bitrates simply mean less compression artifacts when moving from frame to frame which is also why I simply do not feel that ALL-I will add any noticeable quality to most video footage and is mainly an editing benefit. DVD bitrates are only 11 Mbps and even a Blu Ray disc's bitrate is only 40Mbps; so for me pretty much anything the S5 has is good enough for anything I plan on shooting. I'm not assuming that more is better....its a fact; you can losslessly crop up to 2X in 4K on a 1080P timeline, something that is not possible with 1080P regardless of the bitrate and yes I have seen 1080P footage on a 4K timeline and no it did not look as detailed to me. I'll admit I don't remember the bitrate of the footage but it does not change the fact that it is not possibly to losslessly zoom 2x into footage when the pixels simply aren't there even when upscaling is involved. Full disclosure though; I have seen some videos where they mix upscaled 1080P footage with 4K footage to get the additional slow motion framerates and when its only for a few seconds it really was hard to tell, but to me that's an exception not an expectation. For real estate video and photography you want a maximum of 16mm with 14mm or even 10mm being even better; as long as its not a fisheye lens. The 20-60 would not even be close both because its way too slow (Real Estate interiors are typically terribly lit), and not wide enough. The real estate problem is the only reason I have not sold my GH5 yet. Due to the 4K60FPS crop, I would need a 10mm rectilinear lens just to get back to 15mm. I thought my EF-S Canon 10mm-22mm would be perfect...but its the one APS-C lens that I have that doesn't work on the S5 even with the APS-C crop enabled. Rokinon makes a 10mm F2.8 but I haven't decided to try it yet. Of course I could shoot in 30FPS, but I use speed ramping and for detail shots depending on the property I want to be able to slow down the footage. I am also thinking about just shooting in 1080P 60FPS, but I haven't shot anything in 1080P in years; going back to not being able to recompose a shot would be tough to accept. I haven't tried it for stills because the only way it would replace my 5DIV would be if I were going to go all in and for me to go all in on the Panasonic system it needs better AF in video as well.

The crop on the S5 really irked me for a recent shoot. I really needed 4K 60FPS but the crop was making my 50mm too long to frame certain shots and I didn't have time to switch lenses. So you can add crop factor for many cameras to that list. Typically the 24mm is fine and after the crop its around 38mm but I needed the faster 50mm lens and it was perfect until the crop factor kicked in. The AF was why I didn't get the S1 when it came out not to mention the lens mount. What really sold me on the S5 was the EF adapter more so than anything else which meant I just needed to buy the body since I have plenty of EF glass. Even now though I miss my Voigtlander lenses and I still don't have a solution for real estate videos where I need a wide angle lens and need to shoot in 60FPS but the S5 has a crop at 60FPS. The AF is also why I'm not trying too hard to test the S5 for photography and the AF is also why I doubt I will get a second S5. I'm stuck between a rock and a hard place; do I try native lenses with the S5 to see if AF works for me and if it does do I go and buy tons of new expensive glass for a camera that will never have great AF, or do I just stick with the EF mount and sacrifice CAF. The image out of the S5 and working with VLOG is incredible so the S5 checks enough boxes for me that I have decided to sacrifice AF, but it doesn't mean I am willing to go all in. If Panasonic had Canon's AF I would have an S1R for photography and two S5's right now along with all native glass. If I were in your shoes with the GH5 and had no EF glass I wouldn't have bought the S5 either. I do think though if you were to ever rent or use an S5 or S1 especially in high DR or low light scenarios you might be convinced; the image quality really is that much better than the GH5. I used to hate the highlight roll off performance of the GH5 and the color loss at higher ISO's.

I have found YouTube hates timelapses and water even more than shadows. Anything where nearly every frame changes from frame to frame is a disaster on YouTube unless you are a celebrity on an upper tier. I have had to go back and just completely remove a timelapse because I couldn't get it to work on YouTube; and living in FL you are almost always filming something with water; so even there I've had to edit out certain water scenes just because of YouTube.

For me personally the difference actually is absolutely worth it. The ability to crop in when shooting 4K and editing on a 1080P timeline simply cannot be understated; its like having a complete second set of lenses in your bag; but without the lenses. And not even just regular lenses but zoom lenses since you can stop the crop at any point in between when you have the framing where you want it. I think if I specialized in one specific area of video and was able to completely optimize my kit for that type of work then 4K would not be as important to me; but when you shoot literally anything that comes along you have to be prepared for events where you don't have a long enough lens, multi-cam looks when you only have a single camera, and 60FPS for when the talent simply will not slow down enough to properly frame the shot. As far as editing without ALL-I, I did make the choice to simply keep throwing HW at the problem until it fixed itself. It was certainly more expensive than simply buying more storage, but for me it was worth it especially now when I can use what I consider the perfect camera for me (the S5) and edit anything the camera can record without dealing with proxies or lag. Another reason why I am adverse to anything that increases my storage requirements is because I never change memory cards at a shoot. My current setup lets me shoot every type of event that I encounter without ever changing memory cards. I know it sounds minor, but little things like that are important to me when things get crazy hectic. When you are shooting with up to 5 completely different cameras each with a specific purpose as a OMB for a single shoot little things like that get pretty important. That's also why I stick with the EF mount adapter even though I wish I had CAF in the S5....another lens type would add more complexity to my setup. So you say...just get bigger memory cards....its not that easy either; for one thing memory cards fast enough to handle 400Mbs sustained write speeds typically aren't as large as regular cards and my entire kit stops at 256GB cards because they don't make CF cards any bigger than that and my 5DIV requires a CF card.

That is very true, post processing is every bit as important as properly shooting the scene. The S5 does not have ALL-I and I doubt it ever will due to the write speeds needed, it certainly goes beyond 72Mbps as well though. Even if it had ALL-I I would never use it. The much larger file sizes, more expensive memory card requirements, and the minimal improvements in editing performance combined with even less improvements in image quality (if any) make ALL-I a very unattractive proposition for me. For my specific type of work I have never been in the middle of editing and wished that I had RAW or ALL-I footage. Below are the S5's codecs. The specs below are not complete, it does not show which ones are 10 bit 4:2:0 vs 4:2:2 but it shows the data rates and resolutions. Of course it also does 5.9K RAW over HDMI but there's the whole micro HDMI port issue. 3840 x 2160 @ 60p / 200 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 50p / 200 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MOV, H.265, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.265, Linear PCM 3328 x 2496 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 3328 x 2496 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM

I agree with @zerocool22 the S5 and S1H have identical sensors, LOG profiles, etc. I highly doubt in most scenarios you would be able to tell the difference. I think the reason you think the S1H is a lot better is because it is more likely that the buyers of the S1H are shooting higher end productions where they can properly light the scene, use better lenses, etc. Unless the S1H is shooting 5.9K raw (which BTW even the S5 can do now to an external recorder), the S5 and the S1H should produce nearly identical footage if all else is equal (lighting, staging, set design, lens, etc.). Of course the S1H is the better video tool due to not having recording limits, full size HDMI port, and other minor HW details; but none of that really affects the picture quality. In my opinion though, the S5 really shines as a hybrid photo/video camera which is definitely not something the S1H is known for. I don't know if any other camera out there can remotely control 4 wireless flashes using an internal transmitter, unlimited intervalometer, aspect ratio bars in camera, and some of the other S5 photography features that almost no one talks about. With the upcoming firmware update for the S1, I do think it will then become the best hybrid camera mainly due to the 1/320s flash sync speed and the full size HDMI port. Unfortunately though in my opinion the downsides to the S1 is it uses mismatched recording media, and the screen is not a full tilt flip.....however none of these features means the S1 or the S1H will produce more "cinematic" video than the S5.

I guess I like the "digital" look then because to me that looked terrible 🙂. But that's just my opinion. I'm not the type that enjoys trying to emulate the past; now I do think the camcorder look is also terrible and to me camcorders look too digital; but I will take a modern cinema camera with a good lens / diffuser combination combined with a cinematic color grade any day over the "film look" if this video is an example of what that means.

Typically the parents do. Especially right now the parents aren't paying the talent agencies, the runway show fees, the travel fees to get to the runway shows, the acting classes etc. since it is all shut down in most parts of the country; and a lot of models are trying to go the YouTube / Instagram route so business is pretty good for me right now. The musician situation is why I don't shoot many music videos; too much work for what is typically next to no budget. Sorry, you just can't get a car, mansion, and a private helicopter in your music video with a $500 budget. There's still niches where money can be made if you are in the right area at the right time but the hard part is finding them. Another big one right now is livestreaming and recording smaller versions of events for companies and a lot of companies in my area are updating their websites with more photography and more video to try to reach their customers who are shopping/researching remotely; so business in those areas is also doing pretty good for now.

Modeling work is big in my area in Florida, nearly an endless supply; I shoot fashion shows, runway shows, model promos, designer promos, branding shoots, etc. nearly year around in between real estate, corporate work, and other types of events and in addition to all of the video work I also offer a wide variety of photography which is why I love the S5. When I set up my kit I need to be able to shoot just about anything and for now my S5 and Canon 5DIV together can get just about any job done. Who knows, one day it might just be two S5's, but for now I still rely heavily on my 5DIV for photography. I would love to move to more artistic type shooting such as creative shorts like some of the really cool projects that have been posted here, but unfortunately they don't pay the bills in my area.

Thanks, I guess I wasn't waiting long enough, I tend to hit Enter the second I post a link. Here are two recent videos shot with the S5. The images in the videos are taken with a Canon 5DIV. All natural light only for the video portions. The audio is using the XLR module via the lav mic. I have found that the XLR adapter seems to be a bit more problematic with the S5 than it was with the GH5 especially getting it to work with the Sennheiser wireless kit. I once had to restart the camera to get the audio to start working after turning on the Sennheisers and I had to disable ALC in the camera because it kept shutting off the XLR input even though the audio was not peaking. As far as film look vs looking too digital, I don't really focus on things like that, I feel like on a cell phone which is where most of my videos get watched, the audience just couldn't care less so I can't let myself try to achieve things that my audience won't pay more for. I do miss my GH5 MFT Voigtlanders though, they had this look that was way more pleasing to me than I've been able to get out of the Canon and Sigma lenses. I just picked up some ProMist filters that I'm going to try out on my next daytime shoot; if Voigtlander made L mount or EF mount lenses I definitely would consider getting a set. Which does bring me to my last point which is I don't think it is the sensors which make the image look too "digital", I think the lenses have a lot to do with it as well and no matter how much post processing you do, if you start with a difficult sensor/lens combination it's never going to look as good as if you had a lens that got you 90% of the way there in camera.

How is everyone embedding the video into the post? When I do it, it just shows links...is embedding only possible with Vimeo?

I shoot a lot of events and work on a wide variety of projects especially ones where the subject is moving so I can't afford to monitor in BW. My favorite focusing system of all time is the Canon system with the 3 triangles; it is such a fantastic way to know without question when something is in focus. I know Canon patented their system, but you would think other vendors could come up with something better than colored dots that are impossible to see 95% of the time. I punch in to check focus too but it doesn't do you any good if the subject or camera moved afterwards, especially since you can't punch in again while recording. There is just no easy answer. My answer is to shoot with a wider lens when I'm on a gimbal (24mm) and to shoot with the highest F stop I can get away with F8 and higher. Indoors of course is even harder but the wide angle lens helps. For crazy shallow DOF shots I carefully stage everything and try to keep the camera pretty static while the subject moves slightly, but those shots are more planned out than say an event.

I may be wrong but I believe you don't shoot in VLOG, the dual ISO feature only really kicks in if you shoot VLOG. When shooting VLOG you can't even go below ISO 640 since that is the native ISO in VLOG. I would imagine that the normal ISO rules apply when shooting any other profile (i.e. 100 is better than 200 and so on). Since I only shoot in VLOG I only shoot in ISO640 or ISO4000 and I skip the ISO steps in between. To control exposure I then use ND filters, lighting, and the lens aperture as needed. With my Sigma EF 50mm F1.4 at F1.4 and ISO4000 I can practically shoot in just moonlight.

The top dial has two positions....one dedicated for video the rest are different photography modes and custom modes. I have all of my video menu items set up under the top dial position that has the video icon and the M next to it (right after S&Q). For photography, I use the icon that has the M for manual exposure. Panasonic calls that dial position with the video symbol the "Creative Video" mode and the camera automatically configures the screen for the most useful video settings which is why I use that dial position for video. If you go into the menu > Gear icon > First page > "CreativeVideo Combined Set" you can configure which features display just in the Creative Video dial position and what is shared with the P/A/S/M modes. The Sound Meter should be one of the options there but it is not. I never use custom modes, I prefer instead to set up a custom menu and put my commonly changing settings in there; I would run out of custom modes if I tried to have one for each configuration, also, after putting the S5 in a cage, it is more difficult to quickly access the mode dial vs pushing the menu button especially when it is on a gimbal. In my custom menu for video/photography I have the following items (in order) Rec Quality - to change the frame rate WFM/Vector Scope - The WFM is so large that I frequently turn it on to check exposure then turn it off to shoot the scene Image area of Video - I actually don't use this like I thought I would but its still there Photo Style - I've never changed this either it's always set to V-Log Zebra Pattern - I don't use this either, the WFM is way better Frame Marker - This is a really cool feature that I plan on using at some point to check my composition for vertical videos and if I ever use it for photography I will use the frame markers to properly compose in a 4:5 aspect ratio XLR Adapter Setting - Haven't had to change this yet but I don't want to hunt through the menu either if I need to adjust something there Sound Rec Level Adj - Haven't had to change this yet either but if I am not using an XLR mic and just a regular mic I need to be able to adjust the level quickly Headphone Volume - It stays at level 8 and is still hard to hear when monitoring audio (could be I need lower impedance headphones) Ex Tele Conv - I used to use this all the time with the GH5 to simulate a longer lens....but its not as useful with the S5 because at 60FPS there's already a crop and the feature gets disabled Luminance Spot Meter - I plan on using this one day when I have enough time to use a grey card but it hasn't happened yet I probably need to go back in and remove Photo Style, Image Area of Video, and Zebra Pattern. I also need to instead add the Sound Meter since I haven't found a way to get it to disable when in Photography mode. I might write Panasonic with a feature request to add the Sound Meter to the "CreativeVideo Combined Set" feature. Another thing that would be nice is if it had a feature like the S1H to filter all of the different rec modes. I only ever use 4K60FPS 10bit 4:2:0 and 4K 30FPS 10bit 4:2:2, it would be nice if I could get just those two options to display when selecting the rec mode. Instead I have to spend a few extra seconds making sure I picked the right version of each when switching modes (i.e. 4:2:0, 8bit, 10bit, etc).

Dual Native, Dual Gain, x stops over / y stops under.....I just get out and shoot 🙂 and I can tell you I couldn't be happier with the S5's ISO performance at both 640 and 4000. I use 4000ISO all the time because I'm usually in situations where I cannot control the lighting and when color grading in Davinci Resolve, as long as the WFM didn't show clipping it grades perfectly fine to my eyes. Below is a shot from a fashion show at 4000ISO. The only two things I wish the S5 had was better CAF and 4K120FPS; better ISO performance is not on that list. In fact the S5's VLOG is so easy to work with I don't bother with ETTR or really any other tools other than the WFM. If the WFM shows everything is in range and I'm shooting in 10bit I know I can recover from pretty much anything.

The funny thing is...focus peaking worked better in the GH5, and I don't know if you have ever tried the GH5 but the screen is way better in the GH5. Either mine is defective or it is a power saving measure....but the screen looks perfectly sharp (like the GH5) sometimes, mainly when in the menus or right after switching to live view, but then it drops the resolution to the point where nothing looks as clear as it did; its still usable but definitely not as sharp as the GH5 or the Canons. One day I will try to get a before/after picture of the screen to show the difference. The problem is, it does not do it all the time so I haven't found a way to reproduce the behavior yet. Another new annoyance of mine is there is no way to have the audio meter turn off automatically when switching to photography. Most of the display items can be set to just video or just photography but for some strange reason the audio meter isn't one of them...its either on or off. Good to know it's just as bad on the S1, have you used the S1H? Its the same sensor so I would assume its equally bad. Maybe because their AF sucks their focus peaking is tied to that, but its weird the focus peaking in the GH5 worked better IMO than the S5.

I guess I'm kind of confused as well, are you just unhappy with the way it looks on the LCD or after you post process it? Also, are you shooting raw or JPG? If you mean the way they look on the LCD I agree with you; the LCD screen on the S5 just doesn't seem very good to me for either video or photography. I've never had such a hard time using focus peaking (it never seems visible on the screen to me), and after taking a picture or while shooting a video the screen seems to shift to some kind of lower power mode after a few seconds and the image gets blurry almost like it dropped the resolution by half or maybe the refresh rate of the screen. The GH5 never did this, and none of my Canons do this. When shooting with the S5 I really am just putting faith in the provided tools and indicators because I've found it seems nearly impossible to tell how the final processed footage will look by looking at the back screen even with a monitoring LUT. I always feel like I am slightly out of focus when looking at the screen and the few times I've taken pictures with it I know exactly what you mean....the preview of the images on the back screen looks worse than after I post process them vs my Canon which makes every picture look perfect until you get them into Lightroom. I don't believe in external monitors (one more thing to deal with when running and gunning as a OMB), but even if I wanted to use one the micro HDMI port would prevent me from doing that. I've reached the conclusion that I just need to ignore the quality of the image on the LCD and rely on the focusing tools, WFM, spot meter, exposure meter, focus peaking, etc. to know I'm properly capturing the image. I haven't used it enough for photography to have to adapt to its photography quirks.

That was what I was alluding to in regards to the hours of research. I have had every incompatibility imaginable; cases that blocked critical slots, power supplies missing the proper connector to power the video card, memory that was simply the wrong kind (and memory almost always is not returnable), CPU coolers that would not fit the motherboard, motherboard risers that got stripped while screwing them into the mounting board, BIOS's that refused to see the hard drive, BIOS's that refused to see the add in video card, RAID controllers that would do everything you could imagine except let you boot from any drives connected to them, etc. etc. To me adding storage, a video card, and NVME quad port card is a piece of cake compared to dealing with the rest of it. Even for non video editing computers, I no longer build any of them. I just get used enterprise class gear off of eBay. You can get great deals on high end used desktops at the 3yr mark on eBay because that's when many business leases end. And I'll take a 3yr old enterprise class desktop/laptop/networking equipment any day over brand new consumer grade hardware. I actually know a photographer that still uses a 5DIII for photography and the best part is....its the only camera she has ever owned (7yrs)....and she has a single lens which she has never removed from the camera since the day she got it (Canon 50mm). She also has never owned a single flash and when we started talking gear she didn't know the difference between an EF mount lens and an RF mount. She is actually a well known photographer in my area and charges over $300/hr for sessions; AND she is booked for weeks straight. It all seemed crazy to me but she is very friendly, great with families and posing kids, and that is all she does. She literally knows nothing about flashes, gear, diffusion, etc, and shoots 100% natural light, yet she has managed to become a successful photographer in my area; and for post processing she uses a single Lightroom preset which is her signature "look". Meeting her really reminded me that you can make nearly anything work these days and the gear is only a small piece of the big picture.

Have you installed the Windows 10 HEVC codec from the Windows Store? I had terrible problems and it took me weeks to figure it out; I think the Windows 10 HEVC codec breaks DR. The way I fixed my system was I created a new user account and the difference was night and day. The extension installs on a per user basis, so if you create a new user account then log in as that user you can test it to see if the performance improves. You made a good choice, I smile now every time Adobe tries to win me back with a 1yr discount on Premier Pro. I'm still actively seeking a replacement for Lightroom and Photoshop but I don't think it will ever happen.

That makes sense, most of my work is fast turnaround time sensitive footage like events, music videos, fashion shows, modeling videos, virtual tours, seasonal videos, small business promo video work, etc. I'm known for fast turnarounds which helps me stand out in my area. I love shooting all day then finishing the edit that night while the experience and events of the day are still fresh on my mind. I typically shoot the full day's event or project, edit all night until I complete the rough edit (usually around 4AM the next morning), sleep for a few hours, then do the color grading, titles, fix the rough edges, etc. There is no way I could do that waiting for proxies for every clip. I definitely think its incredible how far PCs have come in such a short period of time and proxies let you use just about anything and still get editable footage, especially when it starts out highly compressed like H.264 and H.265.

Exactly, the older you get the more you realize how limited your remaining time is and the less you want to spend that time on things that don't really matter. I didn't want to spend weeks reading up on clock speeds, bus architectures, CPU integrated features, power supply cabling, case wiring, fan sizes, BIOS features, BIOS versions, ATA vs ATX vs miniATX, MB form factors, MB vendors, PCIe slots, NVME M.2 slots, RAID capabilities, , etc. etc. I know HP did all of that already and came up with the combination that they can afford to sell in the 100's of thousands and back with an enterprise warranty so I decided paying more to support their R&D department was better than spending my time reinventing their wheel. That Ryzen mini PC is tiny, I went that route awhile back for my home theatre PC when I got an Intel NUC. The problem was the fan noise was so extreme that it had the unique ability of ruining the movie watching experience so I went back to a full desktop for my home theatre. The NUC is now used as a tethering PC in my studio to show clients their images as they are taken.

You have to set render cache to User, Fusion Memory Cache to on, and ideally set a dedicated cache disk (SSD or faster) that is not used by the OS and that is not scanned by Anti-Virus. Even after doing all of that, you have to wait until the title is cached (red line above the title will turn blue) then you can finally playback in real-time. The other option is to not use Fusion titles and use regular titles instead. In the titles menu there are a few basic titles and the rest are Fusion titles. If you can get away with basic titles you can bypass all of the Fusion performance issues. Even better, create the title in something else as a png with transparency then add it as an overlay on the timeline; of course this rules out motion graphics but it is another way to workaround Fusion if you just need a simple title. I did check out the Source Tape feature but my entire workflow is optimized around Windows Explorer, I have a source clips folder, I drag clips as I use them to a selected clips folder, and I only import the clip at the time I need it to the media pool where I set an in/out point and drag it to the timeline for editing. For me this makes things very easy and it is easy to see what I have already used and what media I still have to pick from. Also, after a project is done, if I start running out of space in my archives I know I can delete all of the media in the source clips and discarded clips folders in Windows Explorer without affecting the finalized project. To use the Source Tape feature I'd need to just dump everything into the media pool. I agree with you, its not meant to go much beyond the basics of editing. I do wish Blackmagic Design would focus more on improving Fusion than the Cut page. I think they are more focused on attracting PP and FCP users than they are in fixing the Fusion performance issues. Funny thing is, I think even PP and FCP users will be confused by the Cut page.

Its kind of funny, the longer I typed the post the more I realized that I did build it after all. To me though truly building a system is picking out the motherboard, PS, memory, CPU, adding the CPU paste, inserting it into the socket, getting a case, fans, mounting the PS, etc. Plugging in hard drives and swapping some memory doesn't seem to rise quite to the level of building a PC. And half the "fun" of building a PC is researching all of the latest MB, CPU, Memory, PS combinations to figure out the best one for the money. I used to have systems that I didn't even bother putting on the side of the case because I was changing things so often. I got really tired of proxies, when I'm importing footage I want to get started right away, waiting for proxies with every clip was just annoying beyond belief for me. And I know some people say just let it sit overnight, but I do most of my project organization in Windows Explorer, I only import clips I will use in the project so that wouldn't have worked for me either.

It will be great if they ever get the Fusion integration right. As it stands now its an endless source of frustration. I'm always waiting for things to cache and the performance is terrible, simple things like Fusion titles cause the whole program to stutter, anything changes above or below a Fusion comp and the caching starts all over again..etc. etc. I think by DR20 they will have it where it needs to be. The rest of the program is already fantastic.

I'll admit, I find the Cut page the most confusing thing imaginable, in fact I dislike it so much that I removed the tab from the UI. Even after watching their tutorials on it there was nothing I liked about it. I would love to be able to click the mouse a little less and resize the UI a little less, but the Cut page just doesn't click for me. I also do a lot of work with multicam sequences, Fusion compositions, motion tracking, lower thirds Fusion titles, etc. so even if I learned the Cut page I think I would end up in the Edit page at some point. The Blackmagic Forum is a good place too, especially for Fusion questions. Hollywood grade VFX experts are actually hanging out on the Fusion forum and there's also more and more great YouTubers who post DR tutorials and they help a lot when I'm trying to figure out how to do something in Fusion.